Graphic Spaces. Film Transitions in Steven Spielberg’s Filmmaking

Andrea Minuz

doi:10.6092/issn.2280-9481/8166

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Andrea Minuz Sapienza University of Rome

Andrea Minuz is Associate Professor of Film and Media History at "Sapienza" University of Rome. He has published essays in multi-authored volumes and various articles in academic journals. His books as author include Dell’incantamento. Hitchcock, Bergman, Fellini e il «motivo dello sguardo» (2009); La Shoah e la cultura visuale. Cinema, memoria, spazio pubblico (2010); Murnau. L’arte di evocare fantasmi (2010); L’invenzione del Luogo. Spazi dell’immaginario cinematografico (2011); Viaggio al termine dell’Italia. Fellini politico (2012)—translated in English for Berghahn Books (Oxford) with the title Political Fellini. Journey to the end of Italy (2015).
He is co-director (with Christian Uva) of the book series “Italian Frame” (MimesisInternational). He writes for the Italian newspaper “Il Foglio.”

DOI:

https://doi.org/10.6092/issn.2280-9481/8166

Keywords:

videographic analysis, steven spielberg, editing

Abstract

The text is a commentary on the video essay with the same name, which analyzes the recurrences of some editing solutions in Spielberg's films, and namely the use of graphic matches and soundbridges. Building on those works that addressed the cinema of Steven Spielberg from a formal point of view, the video tries to consider such stylistic figures as emblematic of his mode of direction, suggesting that their origin can be traced back to the world of animation, as well as to the grammar of classic cinema.

Graphic Spaces. Film Transitions in Steven Spielberg’s Filmmaking

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